Submitted by Al Kanovsky 8/15 /13
...recipes. The reason being my
cooking is like a JAZZ solo. It's dependent on how I am feeling at the moment. A
bit more of this, a little less of that, poco mas picante, a bissel of
schmaltz(rendered chicken fat) and so on. Last night Keith Clark of the Miami
JAZZ Society shared the
recipe for a perfect evening of music. Start with the beat. A tasty touch of
drums supplied by James Cotman. A bit more rhythm by adding Paul Shewchuk on
bass. Liven the flavor with Brian Murphy at the keyboard. Combine gently with
Jesse Jones Jr. on alto and flute and nothing will be tastier or provide more
pure pleasure. Jesse is a treasure. He loves to entertain a crowd of listeners.
Whether it be patter, scat or just plain blowin', it his mission to provide you
with a feeling of satisfaction. The band starts the set with Cannonball's "Sack
of Woe". It is a kind of happy BLUES. When the song is done, Jesse asks the
auditorium audience if it was 'too loud'. No way. It is just right. Next a Sam
Jones comp and I am slack-jawed at Jesse's articulation of the speedy passages.
They are playing full and some times 2 chorus solos. Brian is playing and I
wonder how can you explain Brian Murphy. Touch, imagination, sometimes playful,
sometimes dead serious. Raucous when needed, tender when appropriate. Clave in
his heart and the BLUEs as a basis of everything he plays. Paul Shewchuk is
something else altogether. Pre-mature silver hair and never without a smile. The
smile is reflected in his play. James Cotman is pushing all of them to play
their very best and they do. Hoagy Carmichael wrote "Stardust" long before Jesse
Jones Jr. was born. He wrote it, so that someday, Jesse would play it.
"Stardust" is a tune I have heard a thousand or more times. It was the first
popular song I played from sheet music when I was 13 years old. In all these
years, not once have I heard it played with more sensitivity and feeling than
last night. Jesse, Brian, Paul and James did it like they were talking to the
love of their life. I knew it and everybody else in the audience felt it as
well. Jesse introduced the next song by saying "I can't sing but I'm gonna do it
anyway". They strike up "The Best Things In Life". It's not the best voice in
town but he is in tune. And then Mr. Jones did what no one can come close to.
Scat vocalogy. It is Jesse's native tongue. Holy triplets, you ain't heard
nuttin' 'til you hear those non-word words. Pure JAZZ. Jesse is comfortable in
all the JAZZ genres. It is my personal opinion that he is most comfortable with
be-bop phrasings. I will ask him next time. They select "Songs For My Father"
that Jesse had played as a youngster at the 'Double Deck' in the late 60's.
During Brian's solo, the Latin in his Irish soul emerges and the rhythm of clave
permeates the room. Paul 'takes his time' and plays some of the deepest notes I
have ever heard emanating from a bass fiddle. Again Jesse does a bit of 'scat'.
It seems to me that it was invented for him to do. Their break song is an upbeat
"C-Jam" and they do. The 2d set opened with Freddy Hubbard's "Gibraltar". Be-bop
plus. Jesse's solo had me thinking of other alto players, 'trane, 'Bird',
Hodges----Jesse is unique. He is Jesse Jones Jr. Period, exclamation point.
James has his turn and does a memorable solo. Opening the next tune, Jesse does
an introductory cadenza, first saying that no one knows this song. Being as
brilliant as I am, I recognize it in the first three notes Jesse plays.
"Georgia". I write it down and point it out to the guy sitting next to me. He is
unimpressed. I am!!! Sure enough--it's "Georgia". I am bursting with personal
pride. Jeannette Pina who had been seated on my other side but had a previous
engagement and had already left. C'mon, won't anybody give me an "attaboy".
Mom??
Back to bop with John
Coltrane's "Mister T.C.". Brian's solo triplets are alive and well. James does
a 5 star solo and Jesse does a horse whistle ending ala Illinois Jacquet. Next,
the standard, "Caravan" with Jesse and Paul "foolin 'round". Jesse picks up his
flute for "Swinging Shepherd BLUES". and swing they do. Jesse uses his voice on
the flute creating an unusual new sound. Brian reveals his inner self when
playing BLUES licks. Like it's always 'after hours' somewhere. The song becomes
a conversation between the players. The audience is only invited to listen in.
The music they play is making me feel good and really glad that I came. The
short last set opens with Horace Silver's "Quick Silver" which is based on "Oh.
You Beautiful Doll". During his solo, Jesse, quotes "Donkey Serenade" and
"Joshua 'fit the Battle of Jericho". An unusual pairing, to say the least. They
close doing requests from the audience. "Watermelon Man'. slow at first but then
picking it up. "So What"(mine) and "St. Thomas". Jesse says goodnight with
"Love, Peace and JAZZ". Thanks to Jesse, Brian, Paul, James and Keith Clark for
all that they give to me.
Al's Disclaimer:
A short note: The reason I write this is because I love music and words. I do not book acts. I do not promote acts. I do not accept invitations to review artists. I go to venues of my own choice. When and where is not influenced by anything other than who I would like to hear that night or day. If I don't like what I hear, I won't write about it. When I like it I let you all know. I never mention a name without asking permission. "Pardon me, Miss. Would you like to dance?"
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